The film's story line is a clever and perceptive story, superbly told.

Shot in the Italian Alps, the cinematography is striking.

Too cool for words, then switches past midstream into a work of poignancy and power.

An interesting, often absorbing offbeat western with excellent production values.

Expertly directed by veteran British helmsman Young, Wait Until Dark is an exciting, original chiller.

The film loses steam, sabotaged by Joshua Logan's too-obvious direction and receiving little help from a score by Lerner and Loewe that remains one of their minor efforts.

The last animated film to be directly overseen by Walt Disney himself, Jungle Book contains some great visual laughs and is low on sticky sentiment, but the sketchy animation style strains to be modern and looks careless instead.

A weird picture based on a slim novel by Carson McCullers, this movie fails to engender any sympathy or interest due to several miscalculations.

The ultimate arty 60s thriller, and we mean that as a compliment.

Landmark gangster film that made a huge commercial and cultural splash.

Superb thriller...IN THE HEAT OF THE NIGHT was carefully directed by Norman Jewison, who avoids sentimentality and all the racial cliches that could have crept into almost every scene.

Aldrich was a master at presenting his distinctly cynical outlook in the context of crowd-pleasing entertainment, and The Dirty Dozen is one of his most effective and lasting efforts.

What makes To Sir, With Love such an enjoyable film is the mythic nature of Poitier's character. He manages to come across as a real person, while simultaneously embodying everything there is to know about morality, respect, and integrity.

Nancy Sinatra sings the wistful title song, and the action scenes are enhanced by some of composer John Barry's best work for the Bond series.

Sly, leisurely-paced western from Howard Hawks, with a script by Leigh Brackett ensuring a few laughs.

Even Nicholson's presence can't lift this trash to a one-star listing.

A thoroughly enjoyable way to spend 101 minutes.

Redford and the Oscar-nominated Natwick, fresh from their Broadway triumph in the play, perform with the ease familiarity brings, and Fonda and Boyer also display the appropriate lightness of touch.

An extraordinarily predictable and uninviting western directed by McLaglen in the John Ford vein but with none of the Ford atmosphere, complexity, characterization, or inventiveness.

The film's greatest incidental pleasures are images of a time when outlaw musicians wore suit jackets and the craggy Dylan was a delicate, unconventionally handsome young man.

The second film in Leone's Dollar trilogy finds the Italian director in better form than in A Fistful of Dollars. For a Few Dollars More has better writing, superior production values, and more characters who aptly complement Eastwood's stoic Man with No Name.

Overly sentimental, but with its heart in the right place, THE OLIVE TREES OF JUSTICE tells the story of Prothon, a Parisian who returns to Algiers (he was raised there) during the war of independence to be with his dying father.

A mess. Casino Royale is two hours and eleven minutes of non sequitur.

Donen's direction here is a trifle trendy and frantic, with sometimes jarring results.

Hope isn't funny, Winters misses the mark completely, and watching Diller is like scratching your fingernails down a blackboard. To be avoided.

It's an extremely violent and brutal film, featuring a fine performance by Newman. He's a blunt, practical man who favors action over words. Cilento is appealing as the worldly landlady, and Boone is chilling as the sadistic bad man who is ready to murder anyone standing in his way.

Although the film downplays the comic aspects of the Falstaff-Hal relationship, the two lead performances are splendid, with Baxter alternately playful, cunning, icy, and commanding and Welles giving the performance of his career in a part he deeply understands.

An interesting variation of the Frankenstein theme presented with fine production values.